Estate Figure – Middle Kingdom – The Metropolitan Museum of Art https://www.metmuseum.org/art/collection/search/544210
Model Sporting Boat ca. 1981–1975 B.C.
Model Sporting Boat ca. 1981–1975 B.C.
The Artist: Simon Vouet (see fig. 1 above) is one of a number of major artists, among whom are Jusepe de Ribera, Valentin de Boulogne, Gerrit van Honthorst, and Bartolomeo Manfredi, who worked in Rome in the immediate aftermath of Caravaggio’s death and absorbed his dramatic treatment of expressive lighting, startling naturalism, and psychologically penetrating approach to narrative subjects
into the nineteenth century, with Manet’s portrayal of Victorine Meurant (the model
Research Assistant Jeffrey Fraiman sits down with scholar James M. Saslow to discuss Michelangelo’s practice as a poet, the meaning of his gift drawings, and the study of the artist’s homoeroticism since his death in 1564.
works on paper by Michelangelo, including quick sketches, figure drawings after the model
European Sculpture and Decorative Arts
object-based curatorial department of its kind in the United States, ESDA was a model
Initially trained as a lawyer, Matisse developed an interest in art only at age twenty-one.
distinctive series of pen-and-ink drawings on the subject of the artist and his model
The later Valois kings, who unified France and strengthened its power after the Hundred Years’ War, frequently engaged in diplomacy and warfare in Italy; exposure to Italian art gradually formed their taste.
indicative of the esteem in which Pilon was held in his own time, the terracotta model
This exhibition combines drawings, prints, and objects from all over Europe and the United States as they were collected by the Metropolitan Museum over a period of more than a hundred years.
For example: a sketch by one artist can serve as the model for another’s design,
With her small eyes, high cheeks, and low brow, the model recalls Marie von Goethem
The king favored carved and gilded wood furniture and commissioned a broad range of objects in solid silver that included tall candlestands, massive tables, benches and stools, chandeliers, and mirror frames.
In spite of this awkwardness, Boulle’s model was duplicated many times over a period
The factory’s output reflected an ongoing desire for technical innovation as well as a wide embrace of diverse decorative styles that were employed simultaneously.
This tendency is reflected in a pair of vases ( 1992.23.1) for which the model was